38.302 risultati
1610Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione. Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione.
1593Bulino, 1593, monogrammata in lastra, nell’immagine in basso a destra “HG Jnve.” Numerata 5, in basso a sinistra. Stato unico. Eccellente esemplare, impresso su carta vergata coeva, rifilato ai margini, qualche spellatura al verso, in ottimo stato di conservazione.L’incisione appartiene a una serie di quattordici dedicata ai Vizi Capitali e alle Virtù. L’invidia è raffigurata dentro una nicchia, nelle sembianze di una vecchia megera nell’atto di mangiare un cuore, mentre nella mano sinistra tiene dei serpenti. Nei due alnoli superiori, i suoi attributi, il serpente e il caneSotto l’immagine, due versi in latino che definiscono il Vizio: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Engraving, 1593, signed on plate, in the image lower right “HG Inve”, numbered 5 at lower left. Only state.Excellent example, printed on contemporary laid paper, trimmed at margins, some scratch on verso, in very good condition.In this print, which comes from a series of fourteen engravings, representing the Seven Capital Vices and Virtues, Envy is shown as an old hag eating a heart, inside a niche adorned with two shields that represent her two main attributes, the snake and the dog.Under the image, the following latin inscription: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Hollstein 154
1745Xilografia a chiaroscuro, 1745, in basso al centro la dedita dello stampatore: Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. Da un dipinto di Paolo VeroneseBell’esemplare, impresso su carta vergata coeva, completo dei margini bianchi, in ottimo stato di conservazione.La tavola è una della 24 dell’opera dal titolo “Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte opera selectiora” edita da J. B. Jackson nel 1745.La stampa è tratta dal dipinto di Paolo Caliari, detto il Veronese (1528-1588) per la cassa dell’organo della chiesa di S. Sebastiano, a Venezia, realizzato tra il 1558 e il 1560: le portelle dell’organo, chiuse, mostrano la “Presentazione di Gesù al Tempio”, mentre sul retro, visibile quando lo strumento è in uso, appare la scena della “Probatica piscina”. Chiaroscuro woodcut, 1745. inscribed lower center: “Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. After Paolo Veronese.Good example, printed on contemporary laid paper, white margins, in very good condition.Published as 1 of 24 prints and originally issued in portfolio with title: “Titiani Vecelli, Pauli Caliarii, JacobiRobusti, et Jacobi de Ponte opera selectiora”The plate is after an organ shutter of ca. 1588 painted by Paolo Veronese (1528-1588) for the Church of San Sebastiano, Venice. In 1558, Paolo designed the organ and painted its external shutters with the Presentation of Christ and the internal ones with a Pool of Bethesda (1560). The Presentation represents the bringing of the infant Jesus by Mary and Joseph to the Temple in Jerusalem to be 'consecrated to the Lord.' The Jewish rite of the 'purification' of the mother was celebrated simultaneously and involved the sacrifice of doves or pigeons and incorporated a procession of candles, both of which are portrayed by Veronese. The painted and actual architecture of Paolo's organ in San Sebastiano are coordinated so that, whether the shutters are open or closed, painted architecture continues the organ’s exterior architecture in both perspective and vocabulary. Kainen, Jacob. John Baptist Jackson : 18th-century master of the color woodcut, 1962
1680Maniera nera, 1680-1700 circa, nella cornice ovale: “ADRIANI VAN OSTADE PICTORIS”, firmato in basso a sinistra “A. van Ostade del: Effigies”, e a destra “J. Gole exc: cum Privil: ord: Holland:”. Stato unico. Da un autoritratto di Adrian van Ostade. Jacob Gole (1660-1737) fu un incisore, editore e produttore di carte da gioco franco-olandese. Nato in Francia, figlio dell’ebanista francese Pierre Gole, come ugonotto fu costretto ad emigrare in Olanda, intorno al 1684. Sua sorella sposò un altro ugonotto emigrato, Daniel Marot. Legato a Cornelis Dusart, pubblicò stampe di Dirk Maas. Poco si sa della sua vita. È noto per i suoi ritratti alla maniera nera delle personalità più importanti del suo tempo, come Guglielmo III d'Orange-Nassau, Papa Innocenzo XI, Filippo d’Orleans, Luigi XIV, Giovanni III Sobieski, Augusto II, Federico Guglielmo I di Brandeburgo, Kara Mustafa. Fece anche un ritratto di Rembrandt, dal quale interpretò diverse incisioni. La sua stamperia ad Amsterdam aveva due indirizzi: Vijselstraat, bij de Prinse graft, Amsterdam e Leydse Straat, by de Prince graft, tot Amsterdam. Bella prova, impressa su carta vergata coeva, margini bianchi, in ottimo stato di conservazione. Mezzotint, 1680-1700 circa, circularly in the image “ADRIANI VAN OSTADE PICTORIS”, signed at bottom left “A. van Ostade del: Effigies”, at bottom right "J. Gole exc: cum Privil: ord: Holland:" Only state. After A. van Ostade. Jacob Gole (1660-1737) was a Dutch mezzotinter, engraver, publisher, and playing-card maker. Born in France, son of the French cabinet-maker Pierre Gole, emigrated as a Huguenot to Holland circa 1684. His sister married another Huguenot émigré, Daniel Marot. Linked with Cornelis Dusart, and published prints by Dirk Maas. Little is known about his life. He is known for his portraits in the black manner of the most important personalities of his time, such as William III of Orange-Nassau, Pope Innocent XI, Philip of Orleans, Louis XIV1, John III Sobieski, Augustus II, Frederick William I of Brandenburg, Kara Mustafa. He also made a portrait of Rembrandt, from whom he interpreted several engravings. His print shop in Amsterdam had two addresses: Vijselstraat, bij de Prinse graft, Amsterdam and Leydse Straat, by de Prince graft, tot Amsterdam. Good example, printed on contemporary laid paper, with margins, in good condition. Hollstein VII p. 214 (Gole); Wessely 103 (Gole)
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 36, Delteil 38.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della seconda edizione di dodici, stampata dalla calcografia di Madrid. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 56: figures falling through air, including satyr; from a bound album of the second edition impressions. 1799 Etching and burnished aquatint.From the second edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 91; Delteil 93.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid (circa 1870).Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 90; Delteil 92.
1749Acquaforte e bulino, circa 1749, firmata in lastra in basso a destra. Da un dipinto di Tiziano Vecellio.Intorno al 1749 fu deciso di ripubblicare le tavole eseguite da Lefevre per il famoso set "Opera Selectiora". A causa di un cambiamento nel gusto e perché si erano consumati, le lastre vennero ritoccate con lavori di rifinitura di artisti come Giuseppe Waggner e Johann Gottfried Saiter o completamente rifatti. La raccolta venne pubblicata come "Le opere scelte dipinte da Tiziano Vecellio di Cadore, e da Paolo Cagliari di Verona" (Venezia, 1749). Una seconda edizione, con l'aggiunta di opere della collezione di Lovisa, fu pubblicata da Teodoro Viero (Venezia, 1786) con un titolo diverso: "Raccolta di Opere Scelte Dipinte da Tiziano Vecellio, Antonio Regillo detto il Pordenone, Giacomo Robusti detto il Tintoretto, Paolo Calliari Veronese, Dario Varotari detto il Padoanino, Li Bassani, Giacomo Palma, Giuseppe Salviati, e vari altri celebri Maestri della Scola Veneziana, che fiorirono ne 'tempi posteriori. Disegnate, ed Incise in parte Da Valentino Le Febre Di Bruxelles, ed in parte Da Silvestro Manaigo, e da Andrea Zucchi Veneti ".Bellissima prova, con margini, in perfetto stato di conservazione. Allegory on the three ages of man, after Titian; landscape with in the right foreground, seated on the ground, a naked young man and a woman playing pipe, on the left a winged putto stepping over two sleeping children, and beyond an old man contemplating a skull. The painting is now in the National Gallery of Scotland, Edinburgh.From 'Raccolta Di Opere Scelte'.Around 1749 it was decided that the plates executed by Lefevre for the famous "Opera Selectiora" set were to be republished. Because of a change in taste, and because they had worn off, the plates were either retouched with burin work by artists such as Giuseppe Waggner and Johann Gottfried Saiter, or completely remade. The set was published as "Le opere scelte dipinte da Tiziano Vecellio di Cadore, e da Paolo Cagliari di Verona" (Venice, 1749). A second edition, with added plates from the collection of Lovisa, was published by Teodoro Viero (Venice, 1786) under a different title: "Raccolta Di Opere Scelte Dipinte da Tiziano Vecellio, Antonio Regillo detto il Pordenone, Giacomo Robusti detto il Tintoretto, Paolo Calliari Veronese, Dario Varotari detto il Padoanino, Li Bassani, Giacomo Palma, Giuseppe Salviati, e varj altri celebri Maestri della Scola Veneziana, che fiorirono ne' tempi posteriori. Disegnate, ed Incise in parte Da Valentino Le Febre Di Bruxelles, ed in parte Da Silvestro Manaigo, e da Andrea Zucchi Veneti". [See "Jacopo Tintoretto e suoi incisori", Milan 1994, cat. 95, page 96].
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1530Bulino, 1530, firmato in lastra, in basso nell’immagine, con il monogramma “L” seguito dall’iscrizione “SPES”. Esemplare nel primo stato, di tre.Superba prova, ricca di toni e ben contrastata, impressa su carta vergata coeva, rifilata alla linea del rame, in eccellente stato conservativo.Della serie “Le Virtù”, composta da sette tavole. La data, 1530, è riportata sulla prima e sulla quarta tavola, raffiguranti le virtù della Fede e della Prudenza.“Le Virtù cristiane, dette teologali, erano Fede, Speranza e Carità, e a queste ultime i padri della chiesa aggiunsero le quattro virtù cardinali descritte nella repubblica di Platone: Giustizia, Prudenza e Temperanza. Cosicchè questi soggetti trattati dagli artisti come serie, alle volte in contrasto con i Vizi Capitali (che Luca non eseguì) erano graditi al Clero. Luca, sempre attento a eseguire immagini che potessero essere facilmente apprezzate, si impegnò a fondo eseguendo questi sette nudi nel suo stile italianeggiante in cui gli effetti di monumentalità e di tutto tondo sono particolarmente riusciti.” (Salamon, 114) Engraving, 1530, signed with the monogram "L" and lettered "SPES". First state, of three.Magnificent work, printed on contemporary laid paper, trimmed close to platemark, in excellent condition.A nude allegorical figure of hope sits on a stone ledge in profile to right, her hands are raised before her and she looks out of a doorway at back right toward a ray of light in the sky at upper right; an angel at upper left holds a halo over her head.The plate is the second in a series of seven plates of the Virtues. Two of the seven plates bear the date 1530.The Christian Virtues, called theological, were Faith, Hope and Charity, and to the latter the fathers of the church added the four cardinal virtues described in Plato's republic: Justice, Prudence and Temperance. So these subjects treated by the artists as serious, sometimes in contrast to the Capital Vices (which Luke did not perform) were appreciated by the Clergy. Luca, always careful to execute images that could be easily appreciated, worked hard to execute these seven nudes in his Italian style in which the effects of monumentality and all-round are particularly successful. Bartsch VII.420.128; Hollstein 128; Filedt-Kok, 128; The New Hollstein, 128; TIB, 115; Salamon, n. 114.
1600Bulino, 1600 circa, firmato nell’immagine, in basso al centro "B. Spranger invent. / Fig. Sadeler sculp.". Nel margine inferiore, quattro versi in latino su due colonne “Non datur; eximas veneret, ut inscius artes, solus eas quaerens noscere, gestit amor…” e al centro “Inscius non honorabitur” Da un dipinto di Bartholomäus Spranger, 1596 circa, conservato a Vienna Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata alla linea marginale, restauri perfettamente eseguiti agli angoli, tracce di piega orizzontale, per il resto in buono stato di conservazione. La composizione rappresenta l’allegoria della vittoria della saggezza sull’ignoranza. La saggezza è nelle sembianze di Minerva che ha un piede sull'ignoranza - un uomo con le orecchie d'asino, con le mani legate da una corda. Un putto la onora con una corona di alloro. Intorno a loro ci sono sette personificazioni delle sette arti libere: astronomia, musica, geometria, pittura, scultura e retorica, tra le altre. Sotto la rappresentazione c'è una didascalia latina di quattro righe che sottolinea che gli ignoranti sono incapaci di adorare le arti. Bibliografia Hollstein, XXI,115; Wurzbach 82. Engraving, 1600 circa, inscribed "B. Spranger invent. Fig. Sadeler sculp." in the plate, bottom centre. In margin below, four Latin lines in two columns “Non datur; eximas veneret, ut inscius artes, solus eas quaerens noscere, gestit amor…”, at centre: “Inscius non honorabitur”. Magnificent proof, rich in tone, printed on contemporary laid paper, trimmed at the marginal line, perfectly executed restorations at the corners, traces of horizontal crease, otherwise in good condition. After the painting by Bartholomäus Spranger, around 1596, in the Kunsthistorisches Museum, Wien Wisdom is in the form of Minerva with one foot on ignorance, a man with donkey ears. A putto honors her with a laurel wreath. She has tied the hands of the man with a rope. Around them are seven personifications as a variation on the seven liberal arts: astronomy, music, geometry, painting, sculpture and rhetoric. Under the representation a four-line, Latin caption emphasizes that ignorant people are incapable of worshipping the arts. Literature Hollstein, XXI,115; Wurzbach 82.
1600Bulino, 1600 circa, in basso a sinistra: 'Joannes ab Achen invenetor. / Joan. Mullerus sculpsit"; in basso a destra: "H Muller [HM intrecciato] excud:". Sei righe latine, su tre colonne nel margine in basso: Cum fera tela sinus rimantur pectoris altus / / Et lacerata tua membra crucis madent / / Tum dulcis tibi .... Esemplare nel secondo stato, di quattro, secondo Filedt Kok. Da un dipinto di Hans von Aachen realizzato nel 1590 per il collegio gesuita Saint-Michel di Monaco. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana “scudo di Strasburgo” (simile a The New Hollstein, Muller II, p. 308), rifilata al rame o con piccoli margini, pieghe di carta visibili nella parte inferiore, minimi restauri nelle scritte in basso, per il resto in buono stato di conservazione. L’opera, secondo formule stereotipate nella consuetudine della controriforma, distingue il piano terrestre da quello celeste. In basso, in primo piano, la scena del martirio: sulla destra il gruppo degli arcieri costituisce il nucleo drammatico della scena, con un contrasto intenso fra i loro volti turbati, le loro sagome parzialmente in ombra, i muscoli tesi nello sforzo da una parte e, dall’altra, la bellezza radiosa del santo, il cui corpo, definito da un deciso plasticismo e da una massiccia volumetria, si offre docilmente al martirio, persino incurvandosi in una posizione parallela agli archi ostili. Nella parte superiore un angelo giunge in soccorso del Santo avendo nelle mani la corona d’alloro – simbolo della vittoria attraverso il martirio – e la palma simbolo del martirio e della rinascita. Bibliografia The New Hollstein (Muller Dynasty) part 2.98.23 ii/iv; The New Hollstein (Aachen) 114.44 ii/iv; Bartsch, III.273.23. Engraving, 1600 circa, arched plate, lettered in plate, lower left: 'Joannes ab Achen invenetor. / Joan. Mullerus sculpsit.'; lower right: 'H Muller [HM entwined] excud:'. Six lines Latin in three columns in margin below: Cum fera tela sinus rimantur pectoris altus / / Et lacerata tua membra crucis madent: / / Tum dulcis tibi .... Example in the second state, of four, according Filedt Kok. After a painting by Hans von Aachen in the Jesuit church of St Michaels Hofkirche. Magnificent proof, rich in tone, printed on contemporary laid paper with "Strasbourg shield" watermark (similar to The New Hollstein, Muller II, p. 308), trimmed at the copper or with small margins, paper creases visible at the bottom, minimal restorations in the bottom lettering, otherwise in good condition. Sebastian is bound to a tree with one of his arms raised over his head and tied at the wrist to a broken limb; a group of archers aim their weapons at him; a winged putti holding a palm and wreath hovers overhead. Literature The New Hollstein (Muller Dynasty) part 2.98.23 ii/iv; The New Hollstein (Aachen) 114.44 ii/iv; Bartsch, III.273.23.
1600Bulino, 1600 circa, firmata in lastra nell’immagine, in basso a destra: “Joannes Muller. fecit”, at left: “Harmannus Muller. excud. Amstelodamj”. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame ed applicata su antico supporto del XIX secolo, tracce di usura nella parte inferiore, nel complesso in buono stato di conservazione. Questa incisione, anche se per ragioni stilistiche strettamente legata a Spranger, dev’essere stata disegnata dallo stesso Muller. Il disegno di questa stampa, firmato "JMuller fecit", è attribuito da Bartsch (III, p. 284, n. 64) a Spranger. Obheruber (cfr. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), ha evidenziato l'inesattezza di quest’attribuzione. Bibliografia Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10. Engraving, 1600 circa, signed below in the image, at right: “Joannes Muller. fecit”; at left “Harmannus Muller. excud. Amstelodamj”. A fine impression, printed with tone on contemporary laid paper, trimmed to the borderline and pasted on 19th Century mounting, good condition. This print, though stylistically closely related to Spranger, must have been designed by Muller himself. The drawing for this print, signed “JMuller fecit”, is attributed by Bartsch (III, p. 284, n. 64) to Spranger. Obheruber (cf. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), has pointed out the inaccuracy of the attribution to Spranger. Literature Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10.
1799Acquaforte, acquatinta brunita e bulino, 1799.Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 54.Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi sono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Bellissimo esemplare. Al verso timbro di collezione HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980), editore, libraio e mercante di stampe a Parigi (Lugt 5031). - The rare first edition -Etching, burnished aquatint and engraving, 1799.From the rare first edition (of twelve) of Los Caprichos, plate 54.A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, perfect condition.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example from the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 1964, 89.
1799Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi assumono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example fomr the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 89; Delteil 91.
1799Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 68, Delteil 70.
1867Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid. Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.
1505Xilografia, 1505 circa, monogrammata nella tavoletta in basso a destra. Stato unico, nella terza variante, di cinque, descritte da Meder (n. 233 c/e) Magnifica prova, nitida e ben contrastata, nella terza variante descritta da Meder, caratterizzata da una piccola rottura del legno che comporta una mancanza di circa 5 mm nella parte superiore della linea d’inquadramento. In ottimo stato di conservazione. San Nicola, a sinistra, è identificato dal pane che tiene in mano, che gli fu portato durante una carestia sull'isola dove viveva, dalla barca sullo sfondo. Sant'Erasmo, a destra, sta portando le sue viscere, avvolte intorno a un rocchetto, e inoltre, è identificato dalla ruota con una candela accesa. Al centro c'è Sant'Ulrico, il patrono di Augusta, con in mano il suo simbolo, un pesce. Poiché è al posto d'onore, è stato ipotizzato che questo foglio sia stato commissionato o inteso per essere venduto ad Augusta. Il nome Ulrich non era comune a Norimberga. Questa stampa è spesso considerata come la controparte di un’altra xilografia, raffiguranti i SS. Lorenzo, Sisto e Stefano, sebbene le figure siano più allungate. Alcuni critici hanno anche riconosciuto un concetto spaziale che sembra corrispondere ad alcuni fogli de La Piccola Passione. Di conseguenza, datano questo foglio dopo il ritorno di Dürer dal suo secondo viaggio in Italia, cioè verso il 1508. Ma – osserva Strauss - questa xilografia corrisponde in troppi dettagli ad altre due: il soggetto, lo sfondo, gli uccelli, e inoltre il tipo di carta su cui è stampata, che non la distingue affatto dalle altre cosiddette "modest woodcuts", tutte riferibili agli anni 1503-1505. La forma della tavoletta che porta il monogramma è unica, ma rudimentale. Queste differenze possono essere più propriamente attribuite alla presenza di un'altra mano nella bottega di Dürer che ha modificato il disegno di Dürer in fase di intaglio. Bibliografia Bartsch, 118; Meder, 233 (c/e); Tietze, 398; Panofsky 338; Strauss n. 88. Woodcut, 1505 circa, signed with monogram on tablet lower right. Only state. Impression of Meder variant c/e, with a 5 mm gap in the upper border. Good impression, black, full-bordered, with a 5mm gap in the upper border according the variant c/e described by Meder. Very good condition “St. Nicholaus, on the left, is identified by the bread he is holding, which was brought to him during a famine on the island where he lived by the boat in the background. St. Erasmus, on the right, is carrying his entrails, wound around a reel, and in addition, is identified by the wheel with a burning candle. In the center is St. Ulrich, the patron saint of Augsburg, holding his symbol, a fish. Because he is in the place of honor, it has been surmised that this sheet was commissioned or intended to be sold in Augsburg. The name Ulrich was not common in Nuremberg. This print is often regarded as the counterpart to the preceding one (no. 87), although the figures are longer elongated. Some commentators have also detected a spatial concept that seemingly corresponds to some of the sheets of "The Small Passion' (nos. 106-142). Accordingly, they date this sheet after Dürer's return from his second Italian journey, i.e. c.1508.2 We find that assumption highly speculative. This woodcut corresponds in too many details with at least the two preceding ones: the subject, the background, the birds, and moreover the type of paper that it is printed on, which in no way sets it apart from the other "modest" woodcuts. The shape of the tablet bearing the monogram is unique, yet primitive. These differences can more properly be ascribed to the presence of another hand in Dürer's workshop who modified Dürer's design in preparation for the cutter.” (cf. Strauss, n. 88, p. 296). Literature Bartsch, 118; Meder, 233 (c/e); Tietze, 398; Panofsky 338; Strauss n. 88.
1795Copia, nello stesso verso, da un niello attribuito a Maso Finiguerra, appartenuto alla collezione Durazzo, di cui oggi si conosce solo una prova su carta (conservata al Louvre, coll. Rothschild, inv. 137 Ni, in controparte rispetto a questa), tratta probabilmente da un'impronta in zolfo. Il niello originale appartenne alla collezione di Eugène Félix, poi passò ai Durazzo, in seguito nella collezione Figdor di Vienna. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Per l'attribuzione a Maso Finiguerra, contestata da alcuni studiosi, si veda la sintesi in Zucker in The Illustrated Bartch,1993. Copy, on the same verso, of a niello attributed to Maso Finiguerra, owned by Marchese Jacopo Durazzo. Only one paper impression is known (kept at the Louvre, Rothschild collection, inv. 137 Ni, in counterpart to this one), probably pulled not from the silver plaque, but from a lost sulfur cast, as is shown by the thick, dark lines, caused by cracks in the sulfur, that run diagonally across the top of the image, as noted by Hind. The silver plaque owned by Durazzo was sold (Durazzo sale, 1872, n. 2876) to the Eugène Félix collection in Leipzig and later to the collection of Albert Figdor in Vienna. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. For the attribution to Maso Finiguerra, disputed by some scholars, see Zucker in The Illustrated Bartsch, 2401.002.
1795Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. La composizione sembra essere in pendant con un altro niello raffigurante San Giorgio che sconfigge il drago. Copy, on the same verso, from a niello belonged to the Durazzo collection. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution The composition seems to have as pendant the niello depicting St. George and the dragon
